American Cinematographer - June 2018 - 72

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London Calling
DeMarco: John was a military
brat. He'd lived all over the States,
Berlin, and in Scotland when he was a
teenager at the end of the 1970s. Those
18 months of the true hardcore U.K.
punk era in the late Seventies were kind
of a defining moment for him, and they
fixed his outlook on life. They inspired
him to be an artist, musician and writer,
and to not follow conventions.
Where were you at that time?
DeMarco: I was just starting
college, where I was studying languages
and music, so punk sounded like bad
music to me, but I really did think that
some of the bands - like the Sex
Pistols - were amazing.
What kind of research did you
do for this film?
DeMarco: John had me read
books like Please Kill Me: The
Uncensored Oral History of Punk and
Paul Marko's The Roxy London WC2: A
Punk History. We watched Nicholas
Roeg and Donald Cammell's
Performance [a 1970 film about a South
London gangster], and this great BBC
documentary series called Punk
Britannia. I also watched Quadrophenia,
Radio On, Brothers of the Head, Sid and
Nancy, Rude Boy and Diva.
What kinds of visual cues did
you pick up?
DeMarco: Our original plan was
to shoot on Super 16mm film, because
the story is set in Croydon in the late
Seventies, where all the punk shows
were being documented on regular 16,
and we had this idea about punk being
gritty, real and honest, and against all
the bulls---. Regular 16 film is grainy
and you can't hide from it; shoot a clean
single from 3 feet away and the background is still in focus. It's a true documentary format because you see
everything - ugly or beautiful.
But you didn't end up shooting
film.
DeMarco: We had four weeks of
prep, and then - two days before we
start principal photography - we're
told that the budget isn't working. With
a 28-day shooting schedule, we could
afford to shoot five rolls of Super 16

Right: Enn with
fellow punks
Vic (A.J. Lewis,
left) and John
(Ethan
Lawrence).
Below: DeMarco
eyes a frame as
Sharp looks on.
Bottom: The
boys happen
upon an alien
party where PT
Stella (Ruth
Wilson) greets
them at the
door.

72

June 2018

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - June 2018

Contents
American Cinematographer - June 2018 - Intro
American Cinematographer - June 2018 - Cover1
American Cinematographer - June 2018 - Cover2
American Cinematographer - June 2018 - 1
American Cinematographer - June 2018 - 2
American Cinematographer - June 2018 - Contents
American Cinematographer - June 2018 - 4
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